- Gebundene Ausgabe: 680 Seiten
- Verlag: WW Norton & Co (März 1997)
- Sprache: Englisch
- ISBN-10: 0393970744
- ISBN-13: 978-0393970746
- Größe und/oder Gewicht: 24,3 x 20 x 2,9 cm
- Durchschnittliche Kundenbewertung: 7 Kundenrezensionen
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Harmonic Practice in Tonal Music (Englisch) Gebundene Ausgabe – März 1997
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This textbook takes a linear, functional approach to tonal music in the common-practice era, explaining how both harmonic and melodic forces contribute to the development of musical structures. Coverage includes the basic elements of music; functional diatonic harmony, modulations, and sequences; th -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe.
Der Verlag über das Buch
A brand new introduction to harmonic theory!
A concise yet comprehensive treatment of harmonic andvoice-leading principles using tonal compositions from traditional,folk, popular, jazz, rock, and classical repertories of the 17th-20th centuries. This text combines traditional chordal analysis with recent analytical methods to help explain harmonic function in a linear framework. Its attractive, two-color design sets off special sections that deal with specific harmonic processes, partwriting procedures, and explorations of formal structure.
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Another reviewer complained that the book starts at too high a level. The question is, for whom? This book is aimed at people who are fairly familiar with "classical" music and already read music fluently. I've only used it in the classroom, where I help students make sense of it. If you try to read it on your own, you'll find it quite a slog, but it might be worth it.
Judging by student reviews on this page, students aren't as enthusiastic as teachers about this book, which suggests that we teachers think this book can be a very useful part of a course, though it may not quite stand on its own. I've been very happy; I adopted the book last fall and within a semester my students were doing better work than I had ever seen before. Those students are intellectually above average, but not brilliant musicians.
I hope a future edition will have clearer writing.
The book lacks problem sets by chapter. Instead they are put into an overpriced additional book. The problems are often only loosely tied to the text, and tend to start at too high a level of difficulty. There is no attempt to have a graduated set of exercises.
In case you elect not to buy the workbook, the author provides a second set of problems in the body of the text which he calls "examples." Example 9 on p. 106 asks the student to write a voice leading reduction on a staff in the textbook proper, not the workbook. Is this an example or a problem? Why even suggest writing music in the text if there is a workbook?
Many of these "examples" contain critical information and ought to be true examples and either have the answers written in, or given in the margins of the text. By making unanswered problems out of examples the author makes it very easy for a student to misinterpret a concept amd give an incorrect answer to fundamental information and has no way of knowing the error. For the "examples" like the one on p. 109, the student is given no idea of what a correct answer is. To call these problems or exercises "examples" is a lie and creates a terrible format for an introductory textbook for freshmen.
Example 26 on p. 188 gives two lines from Death and Transfiguration by Strauss. The author's point is that accented nonchordal tones transform a banal passage into "one with great emotional impact." Apparently he did not listen to the piano rendition on his CD. It is banal. It has zero emotional impact. Nowhere does he mention the importance of the sustained crescendo eventually introducing a huge brass section for the lines he is discussing. I submit that the superb orchestration of the work, which makes excellent use of the affect of a good brass section, would give the ending great impact even without the accented non-chordal tones. Just listen to the rendition on the CD to hear the how exciting the accented non-chordal tones are by themselves.
New terms are not always defined at first use, and rarely can be found in the index, which is extremely poor.
The copy editing is exceedingly poor leaving many errors.
I have tried to be very specific about the type of problems that plague this text and could cite dozens of additional examples. I absolutely do not recommend using this text.
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